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Coordinates | 29°57′53″N90°4′14″N |
---|---|
Name | Frank Sinatra |
Background | solo_singer |
Birth name | Francis Albert Sinatra |
Alias | Ol' Blue EyesThe Chairman of the Board |
Birth date | December 12, 1915 |
Birth place | Hoboken, New Jersey, U.S. |
Death date | May 14, 1998 |
Death place | Los Angeles, California, U.S. |
Death cause | Heart attack |
Instrument | Vocals |
Genre | Traditional pop, jazz, swing, big band, vocal |
Occupation | Singer, actor, producer, director, conductor |
Years active | 1935–95 |
Label | Columbia, Capitol, Reprise, Apple Records |
Associated acts | Rat Pack, Bing Crosby, Nancy Sinatra, Judy Garland, Quincy Jones, Antonio Carlos Jobim, Frank Sinatra, Jr., Dean Martin, Count Basie, Sammy Davis, Jr. |
Website | |
Spouse | Nancy Barbato (1939–1951)Ava Gardner (1951–57)Mia Farrow (1966–1968)Barbara Marx (1976–1998) }} |
Francis Albert "Frank" Sinatra (; December 12, 1915 May 14, 1998) was an American singer and film actor.
Beginning his musical career in the swing era with Harry James and Tommy Dorsey, Sinatra became an unprecedentedly successful solo artist in the early to mid-1940s, after being signed to Columbia Records in 1943. Being the idol of the "bobby soxers", he released his first album, ''The Voice of Frank Sinatra'' in 1946. His professional career had stalled by the 1950s, but it was reborn in 1954 after he won the Academy Award for Best Supporting Actor for his performance in ''From Here to Eternity''.
He signed with Capitol Records in 1953 and released several critically lauded albums (such as ''In the Wee Small Hours'', ''Songs for Swingin' Lovers'', ''Come Fly with Me'', ''Only the Lonely'' and ''Nice 'n' Easy''). Sinatra left Capitol to found his own record label, Reprise Records in 1961 (finding success with albums such as ''Ring-a-Ding-Ding!'', ''Sinatra at the Sands'' and ''Francis Albert Sinatra & Antonio Carlos Jobim''), toured internationally, was a founding member of the Rat Pack and fraternized with celebrities and statesmen, including John F. Kennedy. Sinatra turned 50 in 1965, recorded the retrospective ''September of My Years'', starred in the Emmy-winning television special ''Frank Sinatra: A Man and His Music'', and scored hits with "Strangers in the Night" and "My Way".
With sales of his music dwindling and after appearing in several poorly received films, Sinatra retired for the first time in 1971. Two years later, however, he came out of retirement and in 1973 recorded several albums, scoring a Top 40 hit with "(Theme From) New York, New York" in 1980. Using his Las Vegas shows as a home base, he toured both within the United States and internationally, until a short time before his death in 1998.
Sinatra also forged a successful career as a film actor, winning the Academy Award for Best Supporting Actor for his performance in ''From Here to Eternity'', a nomination for Best Actor for ''The Man with the Golden Arm'', and critical acclaim for his performance in ''The Manchurian Candidate''. He also starred in such musicals as ''High Society'', ''Pal Joey'', ''Guys and Dolls'' and ''On the Town''. Sinatra was honored at the Kennedy Center Honors in 1983 and was awarded the Presidential Medal of Freedom by Ronald Reagan in 1985 and the Congressional Gold Medal in 1997. Sinatra was also the recipient of eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award.
Born December 12, 1915, in Hoboken, New Jersey, Sinatra was the only child of Italian immigrants Natalie Della Garaventa and Antonino Martino Sinatra and was raised Roman Catholic. He left high school without graduating, having attended only 47 days before being expelled because of his rowdy conduct. Sinatra's father, often referred to as Marty, served with the Hoboken Fire Department as a Captain. His mother, known as Dolly, was influential in the neighborhood and in local Democratic Party circles, but also ran an illegal abortion business from her home; she was arrested several times and convicted twice for this offense. During the Great Depression, Dolly nevertheless provided money to her son for outings with friends and expensive clothes. In 1938, Sinatra was arrested for carrying on with a married woman, a criminal offense at the time. For his livelihood, he worked as a delivery boy at the ''Jersey Observer'' newspaper, and later as a riveter at the Tietjan and Lang shipyard, but music was Sinatra's main interest, and he carefully listened to big band jazz. He began singing for tips at the age of eight, standing on top of the bar at a local nightclub in Hoboken. Sinatra began singing professionally as a teenager in the 1930s, although he learned music by ear and never learned how to read music.
Sinatra left the Hoboken Four and returned home in late 1935. His mother secured him a job as a singing waiter and MC at the Rustic Cabin in Englewood Cliffs, New Jersey, for which he was paid $15 a week.
On March 18, 1939, Sinatra made a demo recording of a song called "Our Love", with the Frank Mane band. The record has "Frank Sinatra" signed on the front. The bandleader kept the original record in a safe for nearly 60 years. In June, Harry James hired Sinatra on a one year contract of $75 a week. It was with the James band that Sinatra released his first commercial record "From the Bottom of My Heart" in July, 1939— US Brunswick #8443 and UK Columbia #DB2150.
Fewer than 8,000 copies of "From the Bottom of My Heart" (Brunswick #8443) were sold, making the record a very rare find that is sought after by record collectors worldwide. Sinatra released ten commercial tracks with James through 1939, including "All or Nothing At All" which had weak sales on its initial release but then sold millions of copies when re-released by Columbia at the height of Sinatra's popularity a few years later.
In November 1939, in a meeting at the Palmer House in Chicago, Sinatra was asked by bandleader Tommy Dorsey to join his band as a replacement for Jack Leonard, who had recently left to launch a solo career. This meeting was a turning point in Sinatra's career. By signing with Dorsey's band, one of the hottest at the time, he greatly increased his visibility with the American public. Though Sinatra was still under contract with James, James recognized the opportunity Dorsey offered and graciously released Sinatra from his contract. Sinatra recognized his debt to James throughout his life and upon hearing of James' death in 1983, stated: "he [James] is the one that made it all possible."
On January 26, 1940, Sinatra made his first public appearance with the Dorsey band at the Coronado Theater in Rockford, Illinois. In his first year with Dorsey, Sinatra released more than forty songs, with "I'll Never Smile Again" topping the charts for twelve weeks beginning in mid-July.
Sinatra's relationship with Tommy Dorsey was troubled, because of their contract, which awarded Dorsey one-third of Sinatra's lifetime earnings in the entertainment industry. In January 1942, Sinatra recorded his first solo sessions without the Dorsey band (but with Dorsey's arranger Axel Stordahl and with Dorsey's approval). These sessions were released commercially on the Bluebird label. Sinatra left the Dorsey band late in 1942 in an incident that started rumors of Sinatra's involvement with the Mafia. A story appeared in the Hearst newspapers that mobster Sam Giancana coerced Dorsey to let Sinatra out of his contract for a few thousand dollars, and was fictionalized in the movie ''The Godfather''. According to Nancy Sinatra's biography, the Hearst rumors were started because of Frank's Democratic politics. In fact, the contract was bought out by MCA founder Jules Stein for $75,000.
On December 31, 1942, Sinatra made a "legendary opening" at the Paramount Theater in New York. Jack Benny later said, "I thought the goddamned building was going to cave in. I never heard such a commotion... All this for a fellow I never heard of." When Sinatra returned to the Paramount in October 1944, 35,000 fans caused a near riot outside the venue because they were not allowed in.
During the musicians' strike of 1942–44, Columbia re-released Harry James and Sinatra's version of "All or Nothing at All" (music by Arthur Altman and lyrics by Jack Lawrence), recorded in August 1939 and released before Sinatra had made a name for himself. The original release did not even mention the vocalist's name. When the recording was re–released in 1943 with Sinatra's name prominently displayed, the record was on the best–selling list for 18 weeks and reached number 2 on June 2, 1943.
Sinatra signed with Columbia on June 1, 1943, as a solo artist, and he initially had great success, particularly during the 1942–44 musicians' strike. Although no new records had been issued during the strike, he had been performing on the radio (on ''Your Hit Parade''), and on stage. Columbia wanted to get new recordings of their growing star as fast as possible, so Sinatra convinced them to hire Alec Wilder as arranger and conductor for several sessions with a vocal group called the Bobby Tucker Singers. These first sessions were on June 7, June 22, August 5, and November 10, 1943. Of the nine songs recorded during these sessions, seven charted on the best–selling list.
Sinatra did not serve in the military during World War II. On December 11, 1943, he was classified 4-F ("Registrant not acceptable for military service") for a perforated eardrum by his draft board. Additionally, an FBI report on Sinatra, released in 1998, showed that the doctors had also written that he was a "neurotic" and "not acceptable material from a psychiatric standpoint". This was omitted from his record to avoid "undue unpleasantness for both the selectee and the induction service". Active-duty servicemen, like journalist William Manchester, said of Sinatra, "I think Frank Sinatra was the most hated man of World War II, much more than Hitler", because Sinatra was back home making all of that money and being shown in photographs surrounded by beautiful women. His exemption would resurface throughout his life and cause him grief when he had to defend himself. There were accusations, including some from noted columnist Walter Winchell, that Sinatra paid $40,000 to avoid the service – but the FBI found no evidence of this.
In 1945, Sinatra co-starred with Gene Kelly in ''Anchors Aweigh''. That same year, he was loaned out to RKO to star in a short film titled ''The House I Live In''. Directed by Mervyn LeRoy, this film on tolerance and racial equality earned a special Academy Award shared among Sinatra and those who brought the film to the screen, along with a special Golden Globe for "Promoting Good Will". 1946 saw the release of his first album, ''The Voice of Frank Sinatra'', and the debut of his own weekly radio show.
By the end of 1948, Sinatra felt that his career was stalling, something that was confirmed when he slipped to No. 4 on ''Down Beat'''s annual poll of most popular singers (behind Billy Eckstine, Frankie Laine, and Bing Crosby).
The year 1949 saw an upswing, as Frank co-starred with Gene Kelly in ''Take Me Out to the Ball Game''. It was well received critically and became a major commercial success. That same year, Sinatra teamed up with Kelly for a third time in ''On the Town''.
This was a period of serious self-doubt about the trajectory of his career. In February 1951, he was walking through Times Square, past the Paramount theatre, keystone venue of his earlier phenomenal success. The Paramount marquee glowed in announcement of Eddie Fisher in concert. Swarms of teen-age girls had gathered in frenzy, swooning over the current singing idol. For Sinatra this public display of enthusiasm for Fisher validated a fear he had harbored in his own mind for a long time. The Sinatra star had fallen; the shouts of "Frankieee" were echoes of the past. Agitated and disconsolate he rushed home, closed his kitchen door, turned on the gas and laid his head on the top of the stove. A friend returned to the apartment not long after to find Sinatra lying on the floor sobbing out the melodrama of his life, proclaiming his failure was so complete he could not even commit suicide''.
In September 1951, Sinatra made his Las Vegas debut at the Desert Inn. A month later, a second series of the ''Frank Sinatra Show'' aired on CBS. Ultimately, Sinatra did not find the success on television for which he had hoped. The persona he presented to the TV audience was not that of a performer easily welcomed into homes. He projected an arrogance not compatible with the type of cozy congeniality that played well on the small screen.
Columbia and MCA dropped him in 1952.
The rebirth of Sinatra's career began with the eve-of-Pearl Harbor drama ''From Here to Eternity'' (1953), for which he won an Academy Award for Best Supporting Actor. This role and performance marked a turnaround in Sinatra's career: after several years of critical and commercial decline, becoming an Oscar-winning actor helped him regain his position as the top recording artist in the world.
Also in 1953, Sinatra starred in the NBC radio program ''Rocky Fortune''. His character, Rocko Fortunato (aka Rocky Fortune) was a temp worker for the Gridley Employment Agency who stumbled into crime-solving by way of the odd jobs to which he was dispatched. The series aired on NBC radio Tuesday nights from October 1953 to March 1954, following the network's crime drama hit ''Dragnet''. During the final months of the show, just before the 1954 Oscars, it became a running gag that Sinatra would manage to work the phrase "from here to eternity" into each episode, a reference to his Oscar-nominated performance.
In 1953, Sinatra signed with Capitol Records, where he worked with many of the finest musical arrangers of the era, most notably Nelson Riddle, Gordon Jenkins, and Billy May. With a series of albums featuring darker emotional material, Sinatra reinvented himself, including ''In the Wee Small Hours'' (1955)—Sinatra's first 12" LP and his second collaboration with Nelson Riddle—''Where Are You?'' (1957) and ''Frank Sinatra Sings For Only The Lonely'' (1958). He also incorporated a hipper, "swinging" persona into some of his music, as heard on ''Swing Easy!'' (1954), ''Songs For Swingin' Lovers'' (1956), and ''Come Fly With Me'' (1957).
By the end of the year, Billboard had named "Young at Heart" Song of the Year; ''Swing Easy!'', with Nelson Riddle at the helm (his second album for Capitol), was named Album of the Year; and Sinatra was named "Top Male Vocalist" by ''Billboard'', ''Down Beat'' and ''Metronome''.
A third collaboration with Nelson Riddle, ''Songs For Swingin' Lovers'', was both a critical and financial success, featuring a recording of "I've Got You Under My Skin".
''Frank Sinatra Sings for Only the Lonely'', a stark collection of introspective saloon songs and blues-tinged ballads, was a mammoth commercial success, spending 120 weeks on ''Billboard'''s album chart and peaking at #1. Cuts from this LP, such as "Angel Eyes" and "One for My Baby (and One More for the Road)", would remain staples of Sinatra's concerts throughout his life.
Through the late fifties, Sinatra frequently criticized rock and roll music, much of it being his reaction to rhythms and attitudes he found alien. In 1958 he lambasted it as "sung, played, and written for the most part by cretinous goons. It manages to be the martial music of every sideburned delinquent on the face of the earth."
Sinatra's 1959 hit "High Hopes" lasted on the Hot 100 for 17 weeks, more than any other Sinatra hit did on that chart, and was a recurring favorite for years on "Captain Kangaroo".
His fourth and final Timex TV special was broadcast in March 1960, and earned massive viewing figures. Titled ''It's Nice to Go Travelling'', the show is more commonly known as ''Welcome Home Elvis''. Elvis Presley's appearance after his army discharge was somewhat ironic; Sinatra had been scathing about him in the mid fifties, saying: "His kind of music is deplorable, a rancid smelling aphrodisiac. It fosters almost totally negative and destructive reactions in young people." Presley had responded: "... [Sinatra] is a great success and a fine actor, but I think he shouldn't have said it... [rock and roll] is a trend, just the same as he faced when he started years ago." Later, in efforts to maintain his commercial viability, Sinatra recorded Presley's hit "Love Me Tender" as well as works by Paul Simon ("Mrs. Robinson"), The Beatles ("Something", "Yesterday"), and Joni Mitchell ("Both Sides Now").
Following on the heels of the film ''Can Can'' was ''Ocean's 11'', the movie that became the definitive on-screen outing for "The Rat Pack".
From his youth, Sinatra displayed sympathy for African Americans and worked both publicly and privately all his life to help them win equal rights. He played a major role in the desegregation of Nevada hotels and casinos in the 1960s. On January 27, 1961, Sinatra played a benefit show at Carnegie Hall for Martin Luther King, Jr. and led his fellow Rat Pack members and Reprise label mates in boycotting hotels and casinos that refused entry to black patrons and performers. He often spoke from the stage on desegregation and repeatedly played benefits on behalf of Dr. King and his movement. According to his son, Frank Sinatra, Jr., King sat weeping in the audience at a concert in 1963 as Sinatra sang ''Ol' Man River'', a song from the musical ''Show Boat'' that is sung by an African-American stevedore.
On September 11 and 12, 1961, Sinatra recorded his final songs for Capitol.
In 1962, he starred with Janet Leigh and Laurence Harvey in the political thriller, ''The Manchurian Candidate'', playing Bennett Marco. That same year, Sinatra and Count Basie collaborated for the album ''Sinatra-Basie''. This popular and successful release prompted them to rejoin two years later for the follow-up ''It Might as Well Be Swing'', which was arranged by Quincy Jones. One of Sinatra's more ambitious albums from the mid-1960s, ''The Concert Sinatra'', was recorded with a 73-piece symphony orchestra on 35mm tape.
Sinatra's first live album, ''Sinatra at the Sands'', was recorded during January and February 1966 at the Sands Hotel and Casino in Las Vegas.
In June 1965, Sinatra, Sammy Davis, Jr., and Dean Martin played live in Saint Louis to benefit Dismas House. The concert was broadcast live via satellite to numerous movie theaters across America. Released in August 1965 was the Grammy Award–winning album of the year, ''September of My Years'', containing the single "It Was A Very Good Year", which won the Grammy Award for Best Vocal Performance, Male in 1966. A career anthology, ''A Man and His Music'', followed in November, winning Album of the Year at the Grammys in 1966. The TV special, ''Frank Sinatra: A Man and His Music'', garnered both an Emmy award and a Peabody Award.
In the spring, ''That's Life'' appeared, with both the single and album becoming Top Ten hits in the US on ''Billboard'''s pop charts. ''Strangers in the Night'' went on to top the ''Billboard'' and UK pop singles charts, winning the award for Record of the Year at the Grammys. The album of the same name also topped the ''Billboard'' chart and reached number 4 in the UK.
Sinatra started 1967 with a series of important recording sessions with Antônio Carlos Jobim. Later in the year, a duet with daughter Nancy, "Somethin' Stupid", topped the ''Billboard'' pop and UK singles charts. In December, Sinatra collaborated with Duke Ellington on the album ''Francis A. & Edward K.''.
During the late 1960s, press agent Lee Solters would invite columnists and their spouses into Sinatra's dressing room just before he was about to go on stage. ''The New Yorker'' recounted that "the first columnist they tried this on was Larry Fields of the ''Philadelphia Daily News'', whose wife fainted when Sinatra kissed her cheek. 'Take care of it, Lee,' Sinatra said, and he was off." The professional relationship Sinatra shared with Solters focused on projects on the west coast while those focused on the east coast were handled by Solters' partner, Sheldon Roskin of Solters/Roskin/Friedman, a well-known firm at the time.
Back on the small-screen, Sinatra once again worked with Jobim and Ella Fitzgerald on the TV special, ''A Man and His Music + Ella + Jobim''.
''Watertown'' (1970) was one of Sinatra's most acclaimed concept albums but was all but ignored by the public. Selling a mere 30,000 copies and reaching a peak chart position of 101, its failure put an end to plans for a television special based on the album.
With Sinatra in mind, singer-songwriter Paul Anka wrote the song "My Way", inspired from the French "Comme d'habitude" ("As Usual"), composed by Claude François and Jacques Revaux. (The song had been previously commissioned to David Bowie, whose lyrics did not please the involved agents.) "My Way" would, ironically, become more closely identified with him than any other song over his seven decades as a singer even though he reputedly did not care for it.
In 1973, Sinatra came out of retirement with a television special and album, both entitled ''Ol' Blue Eyes Is Back''. The album, arranged by Gordon Jenkins and Don Costa, was a great success, reaching number 13 on ''Billboard'' and number 12 in the UK. The TV special was highlighted by a dramatic reading of "Send in the Clowns" and a song and dance sequence with former co-star Gene Kelly.
In January, 1974, Sinatra returned to Las Vegas, performing at Caesars Palace despite vowing in 1970 never to play there again after the manager of the resort, Sanford Waterman, pulled a gun on him during a heated argument. With Waterman recently shot, the door was open for Sinatra to return.
In Australia, he caused an uproar by describing journalists there – who were aggressively pursuing his every move and pushing for a press conference – as "fags", "pimps", and "whores". Australian unions representing transport workers, waiters, and journalists went on strike, demanding that Sinatra apologize for his remarks. Sinatra instead insisted that the journalists apologize for "fifteen years of abuse I have taken from the world press". The future Prime Minister of Australia, Bob Hawke, then the Australian Council of Trade Unions (ACTU) leader, also insisted that Sinatra apologize, and a settlement was eventually reached to the apparent satisfaction of both parties, Sinatra's final show of his Australian tour was televised to the nation.
In October 1974, Sinatra appeared at New York City's Madison Square Garden in a televised concert that was later released as an album under the title ''The Main Event – Live''. Backing him was bandleader Woody Herman and the Young Thundering Herd, who accompanied Sinatra on a European tour later that month. The TV special garnered mostly positive reviews while the album – actually culled from various shows during his comeback tour – was only a moderate success, peaking at No.37 on ''Billboard'' and No.30 in the UK.
In August, 1975, Sinatra held several back-to-back concerts together with the newly-risen singer, John Denver. Soon they became friends with each other. John Denver later appeared as a guest in the ''Sinatra and friends'' TV Special, singing "September Song" together with Sinatra. Sinatra covered the John Denver hits "My Sweet Lady" and "Leaving on a Jet Plane". And, according to Denver, his song "A Baby Just Like You" was written at Sinatra's request.
In 1979, in front of the Egyptian pyramids, Sinatra performed for Anwar Sadat. Back in Las Vegas, while celebrating 40 years in show business and his 64th birthday, he was awarded the Grammy Trustees Award during a party at Caesars Palace.
In 1980, Sinatra's first album in six years was released, ''Trilogy: Past Present Future'', a highly ambitious triple album that found Sinatra recording songs from the past (pre-rock era) and present (rock era and contemporary) that he had overlooked during his career, while 'The Future' was a free-form suite of new songs linked à la musical theater by a theme, in this case, Sinatra pondering over the future. The album garnered six Grammy nominations – winning for best liner notes – and peaked at number 17 on ''Billboard'''s album chart, while spawning yet another song that would become a signature tune, "Theme from New York, New York", as well as Sinatra's much lauded (second) recording of George Harrison's "Something" (the first was not officially released on an album until 1972's ''Frank Sinatra's Greatest Hits, Vol. 2'').
The following year, Sinatra built on the success of ''Trilogy'' with ''She Shot Me Down'', an album that revisited the dark tone of his Capitol years, and was praised by critics as a vintage late-period Sinatra. Sinatra would comment that it was "A complete saloon album... tear-jerkers and cry-in-your-beer kind of things".
Also in 1981, Sinatra was embroiled in controversy when he worked a ten-day engagement for $2 million in Sun City, South Africa, breaking a cultural boycott against apartheid-era South Africa. See Artists United Against Apartheid
He was selected as one of the five recipients of the 1983 Kennedy Center Honors, alongside Katharine Dunham, James Stewart, Elia Kazan, and Virgil Thomson. Quoting Henry James in honoring his old friend, President Ronald Reagan said that "art was the shadow of humanity" and that Sinatra had "spent his life casting a magnificent and powerful shadow".
In 1984, Sinatra worked with Quincy Jones for the first time in nearly two decades on the album, ''L.A. Is My Lady'', which was well received critically. The album was a substitute for another Jones project, an album of duets with Lena Horne, which had to be abandoned. (Horne developed vocal problems and Sinatra, committed to other engagements, could not wait to record.)
In December, as part of Sinatra's birthday celebrations, Patrick Pasculli, the Mayor of Hoboken, made a proclamation in his honor, declaring that "no other vocalist in history has sung, swung, crooned, and serenaded into the hearts of the young and old... as this consummate artist from Hoboken." The same month Sinatra gave the first show of his Diamond Jubilee Tour at the Brendan Byrne Arena in East Rutherford, New Jersey.
In 1993 Sinatra made a surprise return to Capitol and the recording studio for ''Duets'', which was released in November.
The other artists who added their vocals to the album worked for free, and a follow-up album (''Duets II'') was released in 1994 that reached No.9 on the ''Billboard'' charts.
Still touring despite various health problems, Sinatra remained a top concert attraction on a global scale during the first half of the 1990s. At times during concerts his memory failed him and a fall onstage in Richmond, Virginia, in March, 1994, signaled further problems.
Sinatra's final public concerts were held in Japan's Fukuoka Dome in December, 1994. The following year, on February 25, 1995, at a private party for 1200 select guests on the closing night of the Frank Sinatra Desert Classic golf tournament, Sinatra sang before a live audience for the very last time. ''Esquire'' reported of the show that Sinatra was "clear, tough, on the money" and "in absolute control". His closing song was "The Best is Yet to Come".
Sinatra was awarded the Legend Award at the 1994 Grammy Awards, where he was introduced by Bono, who said of him, "Frank's the chairman of the bad attitude... Rock 'n roll plays at being tough, but this guy is the boss—the chairman of boss... I'm not going to mess with him, are you?" Sinatra called it "the best welcome...I ever had", but his acceptance speech ran too long and was abruptly cut off, leaving him looking confused and talking into a dead microphone.
In 1995, to mark Sinatra's 80th birthday, the Empire State Building glowed blue. A star-studded birthday tribute, ''Sinatra: 80 Years My Way'', was held at the Shrine Auditorium in Los Angeles. At the end of the program Sinatra graced the stage for the last time to sing the final notes of "New York, New York" with an ensemble. It was Sinatra's last televised appearance.
In recognition of his many years of association with Las Vegas, Frank Sinatra was elected to the Gaming Hall of Fame in 1997.
Throughout his life, Sinatra had mood swings and bouts of depression. Solitude and unglamorous surroundings were to be avoided at all cost. He struggled with the conflicting need "to get away from it all, but not too far away." He acknowledged this, telling an interviewer in the 1950s: "Being an 18-karat manic depressive, and having lived a life of violent emotional contradictions, I have an over-acute capacity for sadness as well as elation." In her memoirs ''My Father's Daughter'', his daughter Tina wrote about the "eighteen-karat" remark: "As flippant as Dad could be about his mental state, I believe that a Zoloft a day might have kept his demons away. But that kind of medicine was decades off."
Sinatra garnered considerable attention due to his alleged personal and professional links with organized crime, including figures such as Carlo Gambino, Sam Giancana, Lucky Luciano, and Joseph Fischetti. The Federal Bureau of Investigation kept records amounting to 2,403 pages on Sinatra. With his alleged Mafia ties, his ardent New Deal politics and his friendship with John F. Kennedy, he was a natural target for J. Edgar Hoover's FBI. The FBI kept Sinatra under surveillance for almost five decades beginning in the 1940s. The documents include accounts of Sinatra as the target of death threats and extortion schemes. They also portray rampant paranoia and strange obsessions at the FBI and reveal nearly every celebrated Sinatra foible and peccadillo.
For a year Hoover investigated Sinatra's alleged Communist affiliations, but found no evidence. The files include his rendezvous with prostitutes, and his extramarital affair with Ava Gardner, which preceded their marriage. Celebrities mentioned in the files are Dean Martin, Marilyn Monroe, Peter Lawford, and Giancana's girlfriend, singer Phyllis McGuire.
The FBI's secret dossier on Sinatra was released in 1998 in response to Freedom of Information Act requests.
The released FBI files reveal some tantalizing insights into Sinatra’s lifetime consistency in pursuing and embracing seemingly conflicting affiliations. But Sinatra’s alliances had a practical aspect. They were adaptive mechanisms for behavior motivated by self-interest and inner anxieties. In September 1950 Sinatra felt particularly vulnerable. He was in a panic over his moribund career and haunted by the continual speculations and innuendos in circulation regarding his draft status in World War II. Sinatra “was scared, his career had sprung a leak.” In a letter dated September 17, 1950 to Clyde Tolson, Sinatra offered to be of service to the FBI as an informer. An excerpted passage from a memo in FBI files states that Sinatra “feels he can be of help as a result of going anywhere the Bureau desires and contacting any people from whom he might be able to obtain information. Sinatra feels as a result of his publicity he can operate without suspicion…he is willing to go the whole way.” The FBI declined his assistance.
Sinatra's parents had immigrated to the United States in 1895 and 1897 respectively. His mother, Dolly Sinatra (1896–1977), was a Democratic Party ward boss.
Sinatra remained a supporter of the Democratic Party until the early 1970s when he switched his allegiance to the Republican Party.
He donated $5,000 to the Democrats for the 1944 presidential election and by the end of the campaign was appearing at two or three political events every day.
After World War II, Sinatra's politics grew steadily more left wing, and he became more publicly associated with the Popular Front. He started reading liberal literature and supported many organizations that were later identified as front organizations of the Communist Party by the House Un-American Activities Committee in the 1950s, though Sinatra was never brought before the committee.
Sinatra spoke at a number of New Jersey high schools in 1945, where students had gone on strike in opposition to racial integration. Later that year Sinatra would appear in ''The House I Live In'', a short film that stood against racism. The film was scripted by Albert Maltz, with the title song written by Earl Robinson and Abel Meeropol (under the pseudonym of Lewis Allen).
In 1948, Sinatra actively campaigned for President Harry S. Truman. In 1952 and 1956, he also campaigned for Adlai Stevenson. a rival singer and a Republican, for Kennedy's visit to Palm Springs, in 1962. Kennedy had planned to stay at Sinatra's home over the Easter holiday weekend, but decided against doing so because of Sinatra's alleged connections to organized crime. Kennedy stayed at Bing Crosby's house instead. Sinatra had invested a lot of his own money in upgrading the facilities at his home in anticipation of the President's visit. At the time, President Kennedy's brother, Attorney General Robert F. Kennedy, was intensifying his own investigations into organized crime figures such as Chicago mob boss Sam Giancana, who had earlier stayed at Sinatra's home.
Despite his break with Kennedy, however, he still mourned over Kennedy after he learned he was assassinated. He also re-stated his support for Humphrey on a live election-eve national telethon.
Sinatra began to show signs of dementia in his last years and after a heart attack in February 1997, he made no further public appearances. After suffering another heart attack, he died at 10:50 pm on May 14, 1998 at the Cedars-Sinai Medical Center, with his wife Barbara by his side. He was 82 years old. Sinatra's final words, spoken after Barbara encouraged him to "fight" as attempts were made to stabilize him, were "I'm losing." The official cause of death was listed as complications from dementia, heart and kidney disease, and bladder cancer. His death was confirmed by the Sinatra family on their website with a statement accompanied by a recording of the singer's version of "Softly As I Leave You". The next night the lights on the Las Vegas Strip were dimmed for 10 minutes in his honor. President Bill Clinton, as an amateur saxophonist and musician, led the world's tributes to Sinatra, saying that after meeting and getting to know the singer as President, he had "come to appreciate on a personal level what millions of people had appreciated from afar". Elton John stated that Sinatra, "was simply the best – no one else even comes close". Tony Curtis, Liza Minnelli, Kirk Douglas, Robert Wagner, Bob Dylan, Don Rickles, Nancy Reagan, Angie Dickinson, Sophia Loren, Bob Newhart, Mia Farrow, and Jack Nicholson. A private ceremony was held later that day at St. Theresa's Catholic Church in Palm Springs. Sinatra was buried following the ceremony next to his parents in section B-8 of Desert Memorial Park in Cathedral City, a quiet cemetery on Ramon Road where Cathedral City meets Rancho Mirage and near his compound, located on Rancho Mirage's tree-lined Frank Sinatra Drive. His close friends, Jilly Rizzo and Jimmy Van Heusen, are buried nearby in the same cemetery.
The words "The Best Is Yet to Come" are imprinted on Sinatra's grave marker.
The U.S. Postal Service issued a 42-cent postage stamp in honor of Sinatra on May 13, 2008. The design of the stamp was unveiled Wednesday, December 12, 2007 – on what would have been his 92nd birthday – in Beverly Hills, California, with Sinatra family members on hand. The design shows a 1950s-vintage image of Sinatra, wearing a hat. The design also includes his signature, with his last name alone. The Hoboken Post Office was renamed in his honor in 2002. The Frank Sinatra School of the Arts in Astoria, Queens and the Frank Sinatra Park in Hoboken were named in his honor.
The U.S. Congress passed a resolution on May 20, 2008, designating May 13 as Frank Sinatra Day to honor his contribution to American culture. The resolution was introduced by Representative Mary Bono Mack.
To commemorate the anniversary of Sinatra's death, Patsy's Restaurant in New York City, which Sinatra frequented, exhibited in May 2009 fifteen previously unseen photographs of Sinatra taken by Bobby Bank. The photos are of his recording "Everybody Ought to Be in Love" at a nearby recording studio.
Stephen Holden wrote for the 1983 ''Rolling Stone Record Guide'': : Frank Sinatra's voice ''is'' pop music history. [...] Like Presley and Dylan – the only other white male American singers since 1940 whose popularity, influence, and mythic force have been comparable – Sinatra will last indefinitely. He virtually invented modern pop song phrasing.
Wynn Resorts dedicated a signature restaurant to Sinatra inside Encore Las Vegas on December 22, 2008. Memorabilia in the restaurant includes his Oscar for "From Here to Eternity", his Emmy for "Frank Sinatra: A Man and His Music", his Grammy for "Strangers in the Night", photographs and a gold album he received for "Classic Sinatra".
There is a residence hall at Montclair State University named for him in recognition of his status as an iconic New Jersey native.
The Frank Sinatra International Student Center at Israel's Hebrew University, Mt. Scopus campus, was dedicated in 1978 in recognition of Sinatra's charitable and advocacy activities on behalf of the State of Israel.
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Coordinates | 29°57′53″N90°4′14″N |
---|---|
name | Alfred Hitchcock |
birth name | Alfred Joseph Hitchcock |
birth date | August 13, 1899 |
birth place | Leytonstone, London, England |
death date | April 29, 1980 |
death place | Bel Air, California, United States |
other names | HitchThe Master of Suspense |
occupation | Film director |
years active | 1921–76 |
religion | Roman Catholic |
spouse | Alma Reville (1926–80; his death) |
influenced | Stanley Kubrick, Tim Burton, Robert Zemeckis |
website | }} |
Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980) was a British film director and producer. He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an American citizen, while remaining a British subject.
Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style. He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism. He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing. His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters. Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program ''Alfred Hitchcock Presents'', he became a cultural icon.Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's ''Daily Telegraph'', which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else." The magazine ''MovieMaker'' has described him as the most influential filmmaker of all-time, and he is widely regarded as one of cinema's most significant artists.
Hitchcock was born on 13 August 1899 in Leytonstone, London, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (''née'' Whelan; 1863–1942). He was named after his father's brother, Alfred. Hitchcock was raised Catholic and was sent to the Jesuit Classic school St Ignatius' College in Stamford Hill, London. His mother and paternal grandmother were of Irish extraction. He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.
Hitchcock said he was sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly. This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films. Hitchcock's mother would often make him address her while standing at the foot of her bed, especially if he behaved badly, forcing him to stand there for hours. These experiences would later be used for the portrayal of the character of Norman Bates in his movie ''Psycho''.
Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London. After graduating, he became a draftsman and advertising designer with a cable company called Henley's.
It was while working at Henley's that he first started to dabble creatively. Upon the formation of the company's in-house publication ''The Henley Telegraph'' in 1919, Hitchcock started to submit short articles, eventually becoming one of its most prolific contributors. His first piece was ''Gas'' (1919), published in the very first issue, in which a young woman imagines that she is being assaulted one night in Paris – only for the twist to reveal that it was all just a hallucination in the dentist's chair, induced by the anaesthetic. His second piece was ''The Woman's Part'' (1919), which involves the conflicted emotions a husband feels as he watches his wife, an actress, perform onstage. ''Sordid'' (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story ''And There Was No Rainbow'' (1920) was Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. ''What's Who?'' (1920), while being very funny, was also a precursor to the famous Abbott and Costello "Who's on First?" routine. ''The History of Pea Eating'' (1920) was a satirical disquisition on the various attempts mankind has made over the centuries to eat peas successfully. His final piece, ''Fedora'' (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma (whom he had not met yet).
During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures. In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky and their British successor, Gainsborough Pictures, designing the titles for silent movies. His rise from title designer to film director took five years.
Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled ''Number 13''. However, the production was cancelled due to financial problems and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with ''The Pleasure Garden'' made at UFA Studios in Germany; unfortunately, the film was a commercial flop. Next, Hitchcock directed a drama called ''The Mountain Eagle'' (possibly released under the title ''Fear o' God'' in the United States). This film was also eventually lost. In 1926, Hitchcock's luck changed with his first thriller, ''The Lodger: A Story of the London Fog''. The film, released in January 1927, was a major commercial and critical success in the United Kingdom. As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany. Some commentators regard this piece as the first truly "Hitchcockian" film, incorporating such themes as the "wrong man".
Following the success of ''The Lodger'', Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator. Alma's contribution to his films (some of which were credited on screen) had always been privately acknowledged by Hitchcock, as she was keen to avoid public attention.
In 1929, Hitchcock began work on his tenth film ''Blackmail''. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film historians as a landmark film, and is often considered to be the first British sound feature film. With the climax of the film taking place on the dome of the British Museum, ''Blackmail'' began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. In the PBS series ''The Men Who Made The Movies'', Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder. During this period, Hitchcock directed segments for a BIP musical film revue ''Elstree Calling'' (1930) and directed a short film featuring two ''Film Weekly'' scholarship winners, ''An Elastic Affair'' (1930). Another BIP musical revue, ''Harmony Heaven'' (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.
In 1933, Hitchcock was once again working for Michael Balcon at Gaumont-British Picture Corporation. His first film for the company, ''The Man Who Knew Too Much'' (1934), was a success and his second, ''The 39 Steps'' (1935), is often considered one of the best films from his early period. This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In ''The 39 Steps'', the Macguffin is a stolen set of design plans. Hitchcock told French director François Truffaut:
There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."
Hitchcock's next major success was his 1938 film ''The Lady Vanishes'', a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.
By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of ''The Lady Vanishes''. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of ''Mr. & Mrs. Smith'', where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be ''treated'' like cattle'."
At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.
[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the "only director" he'd "trust with a film".
Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so Selznick did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.
Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom, including his penultimate film, ''Frenzy''.
With the prestigious Selznick picture ''Rebecca'' in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naïve young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940. The statuette was given to Selznick, as the film's producer. The film did not win the Best Director award for Hitchcock.
There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules upon Hitchcock, forcing him to shoot the film as Selznick wanted. At the same time, Selznick complained about Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his own film as he liked, but had to follow Hitchcock's vision of the finished product. ''Rebecca'' was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by ''The Paradine Case'' (132 minutes), ''North by Northwest'' (136 minutes), and ''Topaz'' (142 minutes).
Hitchcock's second American film, the European-set thriller ''Foreign Correspondent'' (1940), based on Vincent Sheean's ''Personal History'' and produced by Walter Wanger, was nominated for Best Picture that year. The movie was filmed in the first year of World War II and was apparently inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.
In September 1940, the Hitchcocks purchased the Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. ''Suspicion'' (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California for the English coastline sequence. This film was to be actor Cary Grant's first time working with Hitchcock, and it was one of the few times that Grant would be cast in a sinister role. Joan Fontaine won Best Actress Oscar and the New York Film Critics Circle Award for her "outstanding performance in ''Suspicion''". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)". In what critics regard as a classic scene, Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is based on (''Before the Fact'' by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.
''Saboteur'' (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty.
''Shadow of a Doubt'' (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films, was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential, including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.
Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film ''Lifeboat'' (1944). The action sequences were shot on the small boat. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer". While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China, ''The Keys of the Kingdom'', but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.
Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, ''Bon Voyage'' and ''Aventure Malgache''. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches". In the 1990s, the two films were shown by Turner Classic Movies and released on home video.
In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title ''Memory of the Camps''.
Hitchcock worked for Selznick again when he directed ''Spellbound'' (1945), which explored psychoanalysis and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past. The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long, because it proved to be too disturbing for the audience. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.
''Notorious'' (1946) followed ''Spellbound''. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's ''Duel in the Sun'' (1946). ''Notorious'' starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.
After completing his final film for Selznick, ''The Paradine Case'' (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first colour film, ''Rope'', which appeared in 1948. Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with ''Lifeboat'' (1943). He also experimented with exceptionally long takes—up to ten minutes long. Featuring James Stewart in the leading role, ''Rope'' was the first of four films Stewart would make for Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.
''Under Capricorn'' (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white films for several years. For ''Rope'' and ''Under Capricorn'', Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.
In 1950, Hitchcock filmed ''Stage Fright'' on location in the UK. For the first time, Hitchcock matched one of Warner Bros.' biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed ''Rope'' and ''Under Capricorn'', because Transatlantic Pictures was experiencing financial difficulties.
With the film ''Strangers on a Train'' (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. Hitchcock approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director. Two men casually meet and speculate on removing people who are causing them difficulty. One of the men takes this banter entirely seriously. With Farley Granger reprising some elements of his role from ''Rope'', ''Strangers'' continued the director's interest in the narrative possibilities of blackmail and murder. Robert Walker, previously known for "boy-next-door" roles, plays the villain.
MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.
Three very popular films starring Grace Kelly followed. ''Dial M for Murder'' (1954) was adapted from the popular stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution. Hitchcock experimented with 3D cinematography, although the film was not released in this format at first. However, it was shown in 3D in the early 1980s. The film marked a return to Technicolor productions for Hitchcock.
Hitchcock then moved to Paramount Pictures and filmed ''Rear Window'' (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly), which screenwriter John Michael Hayes based on his own wife, and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds. Like ''Lifeboat'' and ''Rope'', the movie was photographed almost entirely within the confines of a small space: Stewart's tiny studio apartment overlooking the massive courtyard set. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".
The third Kelly film, ''To Catch a Thief'' (1955), set in the French Riviera, paired Kelly with Cary Grant again. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting proved a commercial success." It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.
Hitchcock successfully remade his own 1934 film ''The Man Who Knew Too Much'' in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)" (which won the Oscar for "Best Original Song" and became a big hit for Day). They play a couple whose son is kidnapped to prevent them from interfering with an assassination.
''The Wrong Man'' (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.
''Vertigo'' (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Though the film is widely considered a classic today, ''Vertigo'' met with negative reviews and poor box office receipts upon its release, and marked the last collaboration between Stewart and Hitchcock. The film is ranked second (behind ''Citizen Kane'') in the 2002 ''Sight & Sound'' decade poll. It was premiered in the San Sebastián International Film Festival, where Hitchcock won a Silver Seashell.
In ''North by Northwest'', Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent. He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint).
''Psycho'' is almost certainly Hitchcock's most well known film. Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set. The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films. After completing ''Psycho'', Hitchcock moved to Universal, where he made the remainder of his films.
''The Birds'', inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film. He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. (On 13 April 2011, at the Cinema Arts Centre in Huntington, NY, Hedren stated in an interview with Turner Classic Movies' Ben Mankiewicz, prior to a screening of ''The Birds'', that because she refused Hitchcock’s sexual advances, Hitchcock effectively stunted her career.) The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".
The latter two films were particularly notable for their unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in ''Psycho'' exceeded the limits of the time, and ''The Birds'' dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by school children (just prior to the infamous attack at the historic Bodega Bay School). These films are considered his last great films, after which his output deteriorated. (although some critics, such as Robin Wood and Donald Spoto, contend that ''Marnie'', from 1964, is first-class Hitchcock, and some have argued that ''Frenzy'' is unfairly overlooked).
Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. Hitchcock filmed two spy thrillers. The first, ''Torn Curtain'' (1966), with Paul Newman and Julie Andrews, was a Cold War thriller. ''Torn Curtain'' displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. In 1969, ''Topaz'', another Cold War-themed film (based on a Leon Uris novel), was released. Both received mixed reviews from critics but are nonetheless recognised as espionage thrillers.
In 1972, Hitchcock returned to London to film ''Frenzy'', his last major triumph. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre that he made so many films out of earlier in his career. The basic story recycles his early film ''The Lodger''. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders," which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain twins, rather than opposites, as in ''Strangers on a Train''. Only one of them, however, has crossed the line to murder. For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the chief inspector and his comic domestic life. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences". Beginning with ''Torn Curtain'', Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.
''Family Plot'' (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phoney powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.
Hitchcock died peacefully in his sleep on 29 April 1980, 9:17 am, due to renal failure in his Bel Air, Los Angeles, California home at the age of 80, survived by his wife and their daughter. His funeral service was held at Good Shepherd Catholic Church in Beverly Hills. Hitchcock's body was cremated and his ashes were scattered over the Pacific Ocean.
''Rope'' (1948) was another technical challenge: a film that appears to have been shot entirely in a single take. The film was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10 minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place.
Hitchcock's 1958 film ''Vertigo'' contains a camera technique developed by Irmin Roberts that has been imitated and re-used many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known by many nicknames, including Dolly zoom, "Zolly," "Hitchcock Zoom," and "Vertigo Effect."
Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in ''The Lodger'' are all blondes. In ''The 39 Steps'', Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In ''Marnie'' (1964), the title character (played by Tippi Hedren) is a thief. In ''To Catch a Thief'' (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In ''Rear Window'', Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best known example is in ''Psycho'' where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in ''Topaz''—Barbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's ''Family Plot''. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.
Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that ''Vertigo'' represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. ''Vertigo'' explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.
Hitchcock often said that his favourite film (of his own work) was ''Shadow of a Doubt''.
In ''Writing with Hitchcock'', a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."
However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book ''Hitchcock At Work'', written by Bill Krohn, the American correspondent of ''Cahiers du cinéma''. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop spraying sequence of ''North by Northwest'' which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.
Even when storyboards were made, scenes that were shot differed from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like ''Notorious'' reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of ''The Man Who Knew Too Much,'' whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including ''Strangers on a Train'' and ''Topaz''. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.
Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.
His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.
For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:
In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.
Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumour that he had said that actors were cattle. Hitchcock addressed this story in his interview with Francois Truffaut:
I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.
Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of ''Mr. and Mrs. Smith''. for the sum of $40,000. Known as the 1870 Cornwall Ranch or 'Heart o' the Mountain', the property was perched high above Scotts Valley, California, at the end of Canham Road. The Hitchcocks resided there from 1940 to 1972. The Hitchcocks became close friends with the parents of Joan Fontaine, after she starred in his film, ''Rebecca''. Years later, after a break-in at his estate, Hitchcock replaced all of the accumulated paintings with studio-made copies. The family sold the estate in 1974, six years before Hitchcock's death.
Hitchcock and family also purchased a second home in late 1942 at 10957 Bellagio Road in Los Angeles, just across from the Bel Air Country Club.
''Rebecca'' was the only Hitchcock film to win the Academy Award for Best Picture (though the award did not go to Hitchcock but to producer David O. Selznick); four other films were nominated. In 1967, he was awarded the Irving G. Thalberg Memorial Award for lifetime achievement. He never won an Academy Award for direction of a film.
The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs—no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture ''Psycho''. In the late 1980s, a new version of ''Alfred Hitchcock Presents'' was produced for television, making use of Hitchcock's original introductions in a colourised form.
''Alfred Hitchcock Presents'' was parodied by Friz Freleng's 1961 cartoon ''The Last Hungry Cat'', which contains a plot similar to ''Blackmail''.
"Hitch" used a curious little tune by the French composer Charles Gounod (1818–1893), the composer of the 1859 opera ''Faust'', as the theme "song" for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, ''Funeral March of a Marionette'', in one of their extended play 45 rpm discs for RCA Victor during the 1950s.
Hitchcock appears as a character in the popular juvenile detective book series, ''Alfred Hitchcock and the Three Investigators''. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.
When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from ''Alfred Hitchcock and the Three Investigators'' to ''The Three Investigators''.
At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included ''Alfred Hitchcock's Anthology'', ''Alfred Hitchcock Presents: Stories to be Read with the Door Locked'', ''Alfred Hitchcock's Monster Museum'', ''Alfred Hitchcock's Supernatural Tales of Terror and Suspense'', ''Alfred Hitchcock's Spellbinders in Suspense'', ''Alfred Hitchcock's Witch's Brew'', ''Alfred Hitchcock's Ghostly Gallery'', ''Alfred Hitchcock's A Hangman's Dozen'' and ''Alfred Hitchcock's Haunted Houseful.'' Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.
Some notable writers whose works were used in the collection include Shirley Jackson (''Strangers in Town'', ''The Lottery''), T.H. White (''The Once and Future King''), Robert Bloch, H. G. Wells (''The War of the Worlds''), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of ''The Three Investigators'', Robert Arthur.
Hitchcock also wrote a mystery story for ''Look'' magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves; such as Woolley, Doris Merrick and make up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in ''Games'' Magazine in November/December 1980.
In September 2010 BBC Radio 7 broadcast a series of five fifteen-minute programs entitled ''The Late Alfred Hitchcock Presents'' with Michael Roberts impersonating Alfred Hitchcock for introductory/concluding comments and reading the stories in his own voice. These five stories were originally intended for the television series, but were rejected because of their rather gruesome nature:
Category:1899 births Category:1980 deaths Category:19th-century English people Category:American film directors Category:American film producers Category:American people of English descent Category:American Roman Catholics Category:American television directors Category:Deaths from renal failure Category:English film directors Category:English film producers Category:English emigrants to the United States Category:English people of Irish descent Category:English Roman Catholics Category:English television directors Category:English-language film directors Category:Knights Commander of the Order of the British Empire Category:Naturalized citizens of the United States Category:Old Ignatians Category:People from Leytonstone
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Some of his music, mostly since the 50s, is used for theatrical dance performances. In Buenos Aires, Pugliese is often played later in the evening when the dancers want to dance more slowly, impressionistically and intimately.
Pugliese is a great choice for slower tango dance music, but the arrangements can be a bit more rhythmically challenging than those played by other orchestras. 'Recuerdo' (1924) and 'La yumba' (1946) are two of Pugliese's most popular tangos.
Pugliese was outspoken in his political opinions. His communist sympathies, though never violent, at times earned him the hostility of those in power. Populist President Juan Perón is said to have had labor union heavies once intimidate Pugliese by locking him in a sinking boat, rescuing him at the last minute; though the alleged 1949 incident has never been proven (Pugliese, likewise, seldom spoke of it publicly), the day Pres. Perón awarded the great pianist the Order of May (Argentina's highest civilian award), he embraced Pugliese, saying: "''Thank you, maestro, for forgiving''".
Category:1905 births Category:1995 deaths Category:People from Buenos Aires Category:Argentine people of Italian descent Category:Argentine composers Category:Tango musicians Category:Argentine pianists Category:Orquesta Osvaldo Pugliese
ca:Osvaldo Pugliese de:Osvaldo Pugliese es:Osvaldo Pugliese eo:Osvaldo Pugliese fr:Osvaldo Pugliese gl:Osvaldo Pugliese it:Osvaldo Pugliese nl:Osvaldo Pugliese ja:オスヴァルド・プグリエーセ oc:Osvaldo Pugliese pl:Osvaldo Pedro Pugliese pt:Osvaldo Pugliese ru:Пульезе, Освальдо sv:Osváldo Pugliese
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